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For Immediate Release
FOR IMMEDIATE RELEASE IRANIAN ARTIST GOLNAZ FATHI TURNS CALLIGRAPHIC WRITING INTO ABSTRACT PAINTING, COMBINING ELEMENTS OF EAST AND WEST Exhibition dates: April 11 – May 11, 2013 Opening cocktail reception: Thursday, April 11, 6 - 8 pm Untitled, 2011, acrylic, pen and varnish on canvas, 70.9 x 88.6 inches New York, March 21, 2013—For her debut solo exhibition in New York, Iranian artist Golnaz Fathi—who divides her time between Tehran and Paris—presents recent works on canvas that draw on her long practice of traditional Iranian calligraphy. Fathi works in fine pen, mostly on varnished raw, rectangular, polyptych canvases, in a limited palette of white, black, red and yellow. She layers the surface of the canvas with thousands of minute marks that echo the curvilinear forms of calligraphic letters and words. These intricate lines coalesce into minimalist compositions that can be read in multiple ways—as landscapes, electronic transmissions or atmospheric phenomena. She refrains from titling her works, which allows the viewer free reign to assign his or her own interpretation. (continued) The basis of Fathi’s practice is siah-mashq, a traditional exercise in which the calligrapher writes large, cursive letters across the page in a dense, semi-abstract formation. The letters aren’t meant to form words or convey meaning, but rather strengthen the skill of the scribe. Fathi reinterprets this technique, drawing inspiration from various Western and Eastern sources, including American Abstract Expressionism, as well as the work of Iranian and Middle Eastern modernists who pioneered the use of the written word as a pictorial element in the late 1950s and early 1960s. -
PR Golnaz Fathi AB43 DE
PRESSETEXT, 28. Juli 2017 «Traces of Yesterday» – Solo-Ausstellung mit GOLNAZ FATHI AB43 CONTEMPORARY, Orangerie, Im Park 2, Thalwil/Zürich Öffentliche Vernissage: Samstag, 2. September 2017, 13.00 – 16.00 Uhr Ausstellungsdauer: 2. September – 7. Oktober 2017 Artist Talk: Samstag, 2. September 2017, 16.00 – 17.00 Uhr im Kulturraum Thalwil (Bahnhofstrasse 24, 8800 Thalwil) Das Gespräch führt Axel Langer, Kurator für die Kunst des Nahen Ostens am Museum Rietberg, Zürich (in englischer Sprache). AB43 CONTEMPORARY freut sich, neue Werke der iranischen Künstlerin GOLNAZ FATHI in einer Solo-Ausstellung zu zeigen. Fathi gilt als eine der erfolgreichsten Künstlerinnen, die Kalligrafie auf sehr moderne, zeitgenössische Art umsetzt – hat weltweite Ausstellungen und Sammler. Kunstwerk von Golnaz Fathi – Untitled, Acrylic on canvas, 2017, 170x142cm GOLNAZ FATHI (1972 in Teheran, Iran) ist eine international gefeierte Künstlerin, die es geschafft hat, die Kluft zwischen traditioneller und zeitgenössischer Kultur sowie zwischen östlichen und westlichen Lebensweisen zu überbrücken. Als ausgebildete Kalligraphin besitzt sie die Fähigkeit, Sprache geschickt in malerische Kompositionen zu verwandeln. Im Park 2 – 6 CH-8800 Thalwil/Zurich Switzerland Phone +41 41 982 08 80 [email protected] www.ab43contemporary.com Während sie Grafik Design an der Azad Universität, Tehran studierte, entdeckte sie die Kalligraphie. Ihr Können vertiefte sie daraufhin über sechs Jahre an der Kalligraphie-Vereinigung Irans. Fathi war die erste Frau, die eine Auszeichnung für Ketabat, einem speziellen Genre der Kalligraphie, gewann. Von den Regeln und Vorschriften dieser Disziplin der Kalligraphie ermattet, schuf sie in ihren Bildern eine neue Form des Ausdrucks: eine imaginäre Sprache, die tief in der persischen Tradition verwurzelt ist und gleichzeitig auf eine soziale Renaissance hindeutet. -
Gender in Contemporary Iran in the Works of Abbas Kowsari
Bard College Bard Digital Commons Senior Projects Spring 2017 Bard Undergraduate Senior Projects Spring 2017 Gender in Contemporary Iran in the Works of Abbas Kowsari Domantas Karalius Bard College, [email protected] Follow this and additional works at: https://digitalcommons.bard.edu/senproj_s2017 Part of the Contemporary Art Commons, and the Other Feminist, Gender, and Sexuality Studies Commons This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 4.0 License. Recommended Citation Karalius, Domantas, "Gender in Contemporary Iran in the Works of Abbas Kowsari" (2017). Senior Projects Spring 2017. 337. https://digitalcommons.bard.edu/senproj_s2017/337 This Open Access work is protected by copyright and/or related rights. It has been provided to you by Bard College's Stevenson Library with permission from the rights-holder(s). You are free to use this work in any way that is permitted by the copyright and related rights. For other uses you need to obtain permission from the rights- holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/or on the work itself. For more information, please contact [email protected]. Gender in Contemporary Iran in the Works of Abbas Kowsari Senior Project Submitted to The Division of the Arts of Bard College by Domantas Karalius Annandale-on-Hudson, New York May 2017 Table of Contents Chapter 1 Gender Depictions in Qajar Art ……………………………….…………………….1 Chapter 2 Abbas Kowsari on Masculinity….…….………………………………..…………….17 Chapter 3 Artist as an Observer ..…………………………………………………....……….... 36 Epilogue………………………………………………………………………………………….48 Bibliography……………………………………………………………………………………..50 1 I. GENDER DEPICTIONS IN QAJAR ART The Islamic Republic of Iran represents a strong connection to Islam and Islamic culture, but nevertheless, Iran’s history dates back to the Persian Empire, which makes the modern state of Iran a successor to one of the oldest and most powerful civilizations in the history of mankind. -
CURATED by AMIRALI GHASEMI Participating Artists Samira Abbassy
CURATED BY AMIRALI GHASEMI Participating Artists Samira Abbassy . Iman Afsarian . AKSbazi Shirin Aliabadi . Samira Alikhanzadeh Afruz Amighi . Mojtaba Amini Nazgol Ansarinia . Kamrooz Aram THE ELEPHANT IN THE DARK Reza Aramesh . Mehraneh Atashi January 25-May 30, 2012 Shoja Azari . Mahmoud Bakhshi Commissioned and Published by Gohar Dashti . Alireza Dayani . Ala Ebtekar Devi Art Foundation, New Delhi, 2012 Shirin Fakhim . Golnaz Fathi Parastou Forouhar . Shadi Ghadirian Assistant Curator Amirali Ghasemi . Bita Ghezelayagh Reha Sodhi Barbad Golshiri . Amirali Golriz Ramin Haerizadeh . Rokni Haerizadeh Catalogue Design Elham Doost Haghighi Neelima Rao, Reha Sodhi Khosrow Hassanzadeh . Ghazaleh Hedayat Peyman Hooshmandzadeh Light Design Shirazeh Houshiary . Katayoun Karami Lyle Lopez Shahram Karimi . Simin Keramati Abbas Kowsari . Farideh Lashai Printed at Amir Mobed . Masoumeh Mozaffari Archana Pendar Nabipour . Timo Nasseri www.archanapress.com Farah Ossouli . Leila Pazooki . Sara Rahbar Mohsen Rastani . Shirin Sabahi Printed on Hamed Sahihi . Zeinab Shahidi Marnani Rendezvous Natural White Behnoush Sharifi . Jinoos Taghizadeh Newsha Tavakolian . Sadegh Tirafkan ISBN and Ali Zanjani 978-81-921393-2-6 Contributors Daria Kirsanova, Amirali Ghasemi © 2012 Devi Art Foundation, Devi Art Foundation extends its thanks to the artists and authors following for assistance with photography: all artists, Aaran Art Gallery, Agastaya Thapa, No part of this publication may be Assar Art Gallery, Azad Art Gallery, Galerie reproduced, stored in a retrieval system or Sfeir-Semler, Gallery Isabelle Van Den Eynde, transmitted by any form or by any means, Green Cardamom, Isak Berbic, Leila Heller electronic, mechanical, photo copying, Gallery, Mah Art Gallery, Reha Sodhi, Rose recording or otherwise without the prior Issa Projects, Shovan Gandhi, Silk Road written permission of the publisher. -
2015 Multi-Artist Exhibition 8Th to 15Th February 2015 Summerhall Gallery, Edinburgh
2015 multi-artist exhibition 8th to 15th February 2015 Summerhall gallery, Edinburgh 1 W: www.ediranfest.co.uk E : a r t @ediranfest.co.uk charity no. S C 0 4 4 7 9 5 About the Exhibition Artists from around the world were invited, through a call for artists, to respond to the title of Perception in categories such as video, installation, multi-media, painting, textile, drawing, photography, and sculpture. Artworks must have been created by an Iranian artist or inspired by Iran. The Selection Process Our invited judges made their selections from over 200 submissions and the works with the most votes will be exhibited at Summerhall gallery, Edinburgh, during the festival week. There will be a jury prizewinner for most promising submission. Judges Janet Rady Based between London and the United Arab Emirates, gallery director and curator Ms Rady is a specialist in contemporary art from the Middle East, with over twenty five years’ experience of the international art market including leading auction houses and major commercial galleries. She holds a masters degree in Islamic Art History from the University of Melbourne, and is the hons lectures secretary for the Iran Society and a nominator for the Jameel Prize. She is a member of the Arab British Chamber of Commerce and sits on the Advisory Council of Caravan Arts. http://www.janetradyfineart.com/ Morteza Nematollahi Mr Nematollahi is a leading figure in contemporary art within Iran. Born in Isfahan, Iran, he studied sculpture at the School of Fine Arts in Isfahan and the University of Fine Arts in Tehran. -
ARTH 391F/533AB Islamic
Islamic Art from the Ulrich Museum of Art Permanent Collection Shahzia Sikander American, born Pakistan 1969 Afloat, 2001 Serigraph Museum Purchase 2002.6 Click to view in Collection Portal Born and raised in Pakistan, Shahzia Sikander mixes traditional Islamic and Hindu motifs, Persian pattern designs, and a Western perspective to create artwork that reveals the superficiality of cultural borders and definitions, which she calls “surface identity.” Her art is based on traditional Islamic decorative miniature painting, a style in which the artist has extensive training and which is commonly considered “women’s work.” Sikander is interested in creating and exploring contradiction. Speaking of her work, Sikander states that “the focus is always to create icons that are neither personal nor cultural, but somewhere between both.” The synthesis of Muslim and Hindu culture that exists in her work stems from the cultural diffusion and conflict that exists between Pakistan and India. What she creates is not just an allegory of Western and Eastern cultural differences. Rather, what is revealed is the “nearness of difference” that exists everywhere in the world. This is a direct statement about inconsistency and contradiction that challenges our view of history, gender roles, and cultural identity. Nusra Qureshi Nusra Qureshi Pakistani, born 1973 Pakistani, born 1973 Three Songs of Devotion, 2003 Gardens of Desire, 2003 Lithograph Lithograph Museum Purchase Museum Purchase 2016.11 2016.10 Click to view in the Collection Portal Click to view in the Collection Portal Primarily working in painting, Nusra Qureshi’s work explores themes of gender, colonization and power. Her works reference and incorporate the aesthetic of various texts such as South Asian illuminated manuscripts and botanical manuals. -
The Middle East Modern and Contemporary Auction
The Middle East Modern and Contemporary Auction Saturday, 11 March 2017 Le Yacht Club Gallery Zaituna Bay Beirut - 1 - The Middle East Modern and Contemporary Auction Viewing Thursday 9 March 11:00-9:00 p.m. Friday 10 March 11:00-8:00 p.m. Saturday 11 March 11:00 onwards Auction Saturday, 11 March 2017 4:00 p.m. Le Yacht Club Gallery, Zaituna Bay, Beirut Phone: +961 (0)1 762 800 View catalogue online at artscoops.com Auctioneer Edward RISING Curators May MAMARBACHI Janet RADY Contact Raya MAMARBACHI Phone: +961 (0)3 127 069 Untitled, 2013 Korosh Ghazimorad, (front cover) Email: [email protected] Bassam Kyrillos, Holiday Inn, 2015 (back cover) Jamil Molaeb, Untitled (inside front cover) May MAMARBACHI Tagreed Darghouth, Untitled, 2013 (inside back cover) Phone: +961 (0)3 429 800 Email: [email protected] Janet RADY Printed & Bound by Express International Phone: +44 (0)7957 284370 www.expressinternational.com Email: [email protected] - 2 - - 3 - 02 ELIAS ZAYYAT Couple in a Seductive Scene, 1969 Ink on paper 32 x 44 cm Signed in English and Arabic; dated in English (lower left) Property from a private collection, Beirut Estimate: US$ 3,000 - 5,000 01 TAGREED DARGHOUTH Untitled, 2013 Acrylic on canvas The pieces (lot 2 and 4) featured in and appeared in an exhibition there 100 x 70 cm the auction date back to the early at that time. This work depicts Signed and dated in English (lower right) 1970s, when Zayat was teaching an olive tree, alongside a square a restoration course in Budapest, and Zayat’s signature bird motif. -
Entrance to Word Into Art, Artists of the Modern Middle East with Iranian Artist Parviz Tanavoli Heech in a Cage, 2006, Bronze in Foreground Right
Entrance to Word into Art, Artists of the Modern Middle East with Iranian artist Parviz Tanavoli Heech in a Cage, 2006, bronze in foreground right Published online arteeast.org July 2006 WORD INTO ART: ARTISTS OF THE MODERN MIDDLE EAST AT THE BRITISH MUSEUM (MAY 18 – SEPTEMBER 2, 2006) is a major contribution to our perceptions of contemporary art in the Middle East. I attribute its engaging nature to a combination of aesthetic seduction, clear organization, and compelling subject matter. “Word into Art” is based on the premise of the vibrancy of the traditional art of Arabic calligraphy in the context of a sacred script, as well as the transformations of the script by individual artists as they intersect with international contemporary art trends, politics, and their own regional traditions. Word into Art consists primarily of contemporary works on paper and ceramics, as well as a few paintings, most of it collected by the British Museum since the 1980s. The show attracted a huge grant from Dubai Holding, enabling the museum to have an entire summer of Middle Eastern Programming, as well as an opening symposium that included artists and art historians from Palestine, Iran, Iraq, France, the Netherlands, the United Kingdom and the United States. (1) Because of this funding the museum also commissioned major art works as part of the exhibition, including Blessed Tigris by Iraqi artist Dia al Azzawi, a towering sculpture in the entry of the Great Court of the Museum. The tower is inscribed with a painfully lyrical poem by Iraqi poet and journalist Muhammad Mahdi al Jawahiri who died in 1997. -
The Young Collectors Auction Art from the Middle East
Auction No. 12 The Young Collectors Auction Art from the Middle East Viewing: January 9 - 16, 2012, 10:00 AM to 8:00 PM Auction: Tuesday, January 17, 2012 7:00 PM Auction No. 12 The Young Collectors Auction Art from the Middle East Viewing: January 9 - 16, 2012, 10:00 AM to 8:00 PM Auction: Tuesday, January 17, 2012 7:00 PM Auction No. 12 The Young Collectors Auction Art from the Middle East Viewing: January 9 - 16, 2012, 10:00 AM to 8:00 PM Auction: Tuesday, January 17, 2012 7:00 PM Head of Session & Auctioneer Hisham Samawi For all enquiries please contact our team: Khaled Samawi Dubai + 971 4 323 6242, [email protected] Hisham Samawi Dubai + 971 4 323 6242, [email protected] Fadi Mamlouk Dubai + 971 4 323 6242, [email protected] Myriam Jakiche Dubai + 971 4 323 6242, [email protected] Katia de Rham Dubai + 971 4 323 6242, [email protected] General Information [email protected] ayyam auctions 3rd Interchange, Al Serkal Complex, Al Quoz 1, Street 8, PO Box 283174 Dubai, UAE Phone + 971 4 323 6242, Fax + 971 4 323 6243, [email protected], www.ayyamgallery.com Mohannad ORABI Born 1977 - Lot 001 Signed, Dated 100 X 90 cm. Acrylic on Canvas 2011 Estimate (US$ 6,000 - 7,000) Mohannad Orabi’s whimsical self portraits exemplify what has made Syrian art so successful over the last sixty years. Born in Damascus in 1977, Orabi graduated from the Faculty of Fine Arts in 2000. Noteworthy among his peers he has exhibited in venues across the region, and has participated in collective shows and festivals in North America, Europe and Asia, including Art Palm Beach, Miami International Art Fair, SCOPE Art Fair (Basel). -
The Disquieting Art of Khosrow Hassanzadeh Shatanawi, M
The Disquieting Art of Khosrow Hassanzadeh Shatanawi, M. Citation Shatanawi, M. (2006). The Disquieting Art of Khosrow Hassanzadeh. Isim Review, 18(1), 54-55. Retrieved from https://hdl.handle.net/1887/17092 Version: Not Applicable (or Unknown) License: Leiden University Non-exclusive license Downloaded https://hdl.handle.net/1887/17092 from: Note: To cite this publication please use the final published version (if applicable). Arts The Disquieting Art of Khosrow Hassanzadeh MIRJAM SHATANAWI “This series is the result of two years of Khosrow Hassanzadeh is one of Iran’s leading texts reveal that Hassanzadeh addresses thought, research and travel. It is a re- contemporary artists. During his artistic career contemporary Western perceptions in flection of a world where the word ‘ter- his work became increasingly concerned with which Islam is heedlessly associated rorist’ is thrown about thoughtlessly. Islam as a factor in the interplay between East with terrorism. His “terrorists” are Mus- What is a terrorist? What are the origins and West. This article discusses his recent lim terrorists, and at the same time, or- of a terrorist and in an international con- series of works Terrorist to analyse the artist’s dinary believers who are under scrutiny text who defines ‘terrorism’? The West, efforts to simultaneously criticize the accusing because of their faith. with its personal definition of terrorism, gaze of the West and reclaim the right of self- gives itself the right to take over a coun- representation. Discovering Islam try, while in the Middle East the West is The emphasis on Islam in the Terror- clearly accused of being a full-fledged terrorist. -
Discover “Asia Abstract” with Opera Gallery the Art Exhibition Launches 28 Sept – 31 Oct, 2018
Discover “Asia Abstract” with Opera Gallery The Art Exhibition Launches 28 Sept – 31 Oct, 2018 (Left to right – Afjehee Nasrollah - Untitled, Chu The-Chun - 26 Mars, Shiraga Kazuo – Untitled) (Hong Kong – 21st August 2018) Opera Gallery will unveil a new group exhibition end September that celebrates the history and heritage of Asian art. Through abstract art, the exhibition will launch a dialogue that interlinks the past and present, traditional and modern designs, and Eastern and Western influences. Created through time-honored practices of traditional Asian art, each piece will reflect the artist’s diverse cultural background and experiences abroad. With specialized skills in ancient Middle Eastern calligraphy, traditional Chinese ink wash painting, and Korean scroll painting and papermaking, the exhibition will showcase artwork that have been crafted using painstaking attention, effort and time. “Asia Abstract” will boast a collection that fuses traditional methods with modern techniques. Conceptualized by the innovative artists, modern techniques reflect the artists’ state of mind and effectively address the themes of national identity, nature and humanity. Exhibition Highlights: Featured Chinese-French artists, Zao Wou-Ki (b. 1920), Chu Teh-Chun (b. 1920) and Feng Xiao-Min (b. 1959) are known for their modernist approach in integrating traditional Chinese brush-and-ink technique with Western abstract art. Over the course of their artistic career in France, the artists have acquired techniques passed on by European masters and have adopted manners of abstract expressionism and lyrical abstraction. The rhythmic nuances demonstrated in their bold sweeping strokes of colours are reminiscent of Chinese landscape paintings. While the message of the artwork may be elusive, viewers are left to bask in the immense beauty and strong emotional impact derived from the artwork’s depth, poetry and musicality. -
Middle Eastern Art While Also Demonstrating The
AR T TEFAF ART BASEL HONG KONG ARMORY WeeK NORMAN LEWIS + A UCTION THE INTERNATIONAL MAGAZINE FOR ART COLLECTORS MARCH 2015 MIDDLE EASteRN ART: INSIDER PICKS WORLDWIDE EXCLUSIVE FOCUS ON THE MIDDLE FOCUS KAZUO SHIRAGA’s GUTAI SCRAPBOOK Ea ST AT HOME WITH COLLECTOR CHRISTOPHER TSAI MULTIPLES MARKET BLOUIN MUSHROOMS A RTIN F O.CO ANDREW SENDOR M MA RCH 201 5 SHIFTING SAND23 MODERN AND CONTEMPORARY ARTISTS FROM THE MIDDLES EAST WHO TRANSCEND BORDERS WHILE TACKLING SUCH THEMES AS IDENTITY AND EXILE 78 BY TRENT MORSE he topics of wealth and conflict are running March 5 through June 5, participants come from all seemingly unavoidable in discussions of around the world, but curator Eungie Joo is privileging artists the Islamic world. When it comes to active in or with ties to the region. Further down the road, the region’s art scenes, headlines focus when the 56th Venice Biennale opens in May, the group shows on either the investment in world- in the pavilions of Iraq (curated by Philippe Van Cauteren, class museums and the establishment artistic director of s.m.a.k., the Museum of Contemporary Art of auction-house outposts in the in Ghent) and the United Arab Emirates (curated by Sheikha Gulf states, or the looting and the loss Hoor bint Sultan Al Qasimi, president and director of the of cultural heritage elsewhere in the Sharjah Art Foundation) will be augmented by “In the Eye greater Middle East and North of the Thunderstorm,” an official collateral exhibition of art of Africa (mena). What’s overlooked in the Middle East commissioned by Omar Donia, founder of this dyad is the artists from the Contemporary Practices art journal.